Appraising Leonardo

Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts Pub Date : 2019-10-17 DOI:10.1093/oso/9780198813835.003.0011

Margaret Dalivalle, Martin Kemp, R. B. Simon

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Abstract

Chapter 10 discusses the appraisal of paintings relating to Leonardo and his school in seventeenth-century England and the state of understanding and connoisseurship of the artist at that time. The chapter focuses on the paintings relating to Leonardo documented in the Caroline collection, tracking their description in inventories and lists between 1639 and c. 1666. This provides context for the descriptions of the two paintings of Christ as Salvator Mundi attributed to Leonardo in the seventeenth-century British Royal Collection. The chapter identifies, where possible, the specific locations of these paintings within the complex of Stuart royal palaces, with particular reference to the manor of Greenwich. Since Greenwich was in the jointure of Queen Henrietta Maria, we examine whether there is any evidence to support the theory that the painting was brought from France on the occasion of her marriage in 1625. It concludes with an analysis of an important sighting of a Salvator Mundi type, attributed to Leonardo, recorded in the collection of the Duke of Hamilton, c. 1638. This introduces the possibility of a third Salvator Mundi attributed to Leonardo at the Stuart courts.

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评价达芬奇

第10章讨论了17世纪英国与列奥纳多和他的学校有关的绘画的评估，以及当时艺术家的理解和鉴赏力的状态。这一章的重点是卡罗琳收藏的与列奥纳多有关的画作，追踪了1639年至1666年之间的库存和清单中的描述。这为17世纪英国皇家收藏中莱昂纳多的两幅画《救世主》的描述提供了背景。在可能的情况下，本章确定了这些画作在斯图尔特皇家宫殿建筑群中的具体位置，并特别提到了格林威治庄园。由于格林威治是亨丽埃塔·玛丽亚王后的遗产，我们研究是否有证据支持这幅画是1625年她结婚时从法国带来的理论。报告最后分析了一幅重要的《救世主》(Salvator Mundi)版画，据信出自达·芬奇之手，记录在汉密尔顿公爵(Duke of Hamilton) 1638年的收藏中。这就引入了第三幅《救世主》在斯图亚特王朝被认为是达芬奇的可能性。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts

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